Tony Predictions: How'd We Do?

It could have been worse. It could have been better. Sandra got a very respectable 18 correct. Liz and I tied with 13. It was a fun Tonys ceremony. Happy New Season!

(BTW, the √s are supposed to be checkmarks. Not sure what Blogger did to them.)

	Liz	Sandra	Wendy
New Musical: Maybe Happy Ending (MHE)	√	√	√
New Play: Purpose	Oh, Mary!	Oh, Mary!	John Proctor is the Villain
Lead Actress, Musical: Nicole Scherzinger, Sunset Blvd	√	√	Audra
Lead Actor, Darren Criss, MHE	√	√	√
Lead Actress, Play: Sarah Snook, Dorian Gray	√	√	LaTanya Richard-son Jackson
Lead Actor, Play: Cole Escola, Oh, Mary!	√	√	√
Featured Actor, Play: Francis Jue, Yellow Face	Conrad Rica-mora	√	√
Featured Actor, Musical: Jak Malone, Operation Mincemeat	√	Danny Burstein	Danny Burstein
Featured Actress, Play: Kara Young, Purpose	Marjan Neshat	Jessica Hecht	Jessica Hecht
Featured Actress, Musical: Natalie Venetia Belcon, Buena Vista Social Club (BVSC)	Joy Woods	Justina Machado	Justina Machado
Revival, Musical: Sunset Blvd	Gypsy	√	√
Revival, Play: Eureka Day	Yellow Face	Romeo + Juliet	√
Direction, Play: Sam Pinkleton, Oh, Mary!	Kip Williams	√	√
Direction, Musical: Michael Arden, MHE	√	Jamie Lloyd	√
Choreography: Patricia Delgado and Justin Peck, BVSC	Smash	√	√
Book: Will Aronson and Hue Park, MHE	Dead Outlaw	Dead Outlaw	Operation Mince-meat
Score: Will Aronson and Hue Park, MHE	√	√	√
Scenic Design, Play: Miriam Buether and 59, Stranger Things	√	√	Hills of Calif-ornia
Scenic Design, Musical: Dane Laffrey and George Reeve, MHE	√	√	√
Costume Design, a Play: Marg Horwell, Dorian Gray	Oh, Mary!	√	Oh, Mary!
Costume Design, Musical: Paul Tazewell, Death Becomes Her	√	√	√
Lighting Design, Play: Jon Clark, Stranger Things	Dorian Gray	√	Dorian Gray
Lighting Design, Musical: Jack Knowles, Sunset Blvd	√	√	√
Sound Design, Musical: Jonathan Deans, BVSC	MHE	√	Floyd Collins
Sound Design, Play: Paul Arditti, Stranger Things	√	√	Good Night, and Good Luck
Orchestrations: Margo Paguia, BVSC	Floyd Collins	Floyd Collins	Just in Time

The Imaginary Invalid

In the late 1970s, The Public Theater presented the Yale Rep production of Sganarelle: An Evening of Molière Farces. It was a wonderful evening. One performer was particularly good: Mark Linn Baker. His fluidity with farce, both verbal and physical, was astonishing, and he was incredibly likeable. I knew that he would "go places." Well, go places he did: dozens and dozens of shows, movies, and TV shows, in a full, impressive career. And now he's again in a Molière farce. And, again, still, his fluidity with farce, both verbal and physical, is astonishing, and he is incredibly likeable.

The Imaginary Invalid is an old warhorse of farce, elegantly structured yet full of very inelegant characters and dialogue. Its main two topics are, arguably, love and enemas. The basic story is that Argan, a wealthy hypochondriac, has remarried, and his new wife wants him to disinherit his daughter. The daughter is in love with a sweet, vacuous, good-looking guy. However, her father wants her to marry a doctor, to save on his medical bills. Various charlatans wander in and out with terrible medical advice. Argan's wry maid attempts to add some sanity to the goings-on, but often utilizes less-than-sane (and quite funny) methods. 

The solid Red Bull production currently at the New World Stages features a funny, effective adaptation by Jeffrey Hatcher, which largely follows Molière's play, but slimmed down and with some contemporary language. The direction by Jesse Berger is generally good, but at the performance I saw, certain moments hadn't gelled yet. A weakness is the ostensibly madcap section of people running around and slamming doors; it lacks clarity of why they're running around and who's after who, which actually does matter, even (especially?) in a farce.

Sarah Stiles, Mark Linn-Baker
Photo: Carol Rosegg

The cast is great. As Argan, Mark Linn-Baker (he added the hyphen after some years as Mark Linn Baker) is fabulously silly while completely committing to his character's wants and needs, as absurd as they mostly are. Sarah Stiles, as the cheeky maid, relishes playing her character's sardonic-ness as much as the character relishes being sardonic. Emilie Kouatchou gives a nicely balanced performance as a young woman both self-indulgently emotional and sincerely in love. Russell Daniels manages to make his ludicrous character actually kinda likeable. The other cast members, all also really good, include Arnie Burton, Manoel Felciano, Emily Swallow, and John Yi.

I am so very grateful that Red Bull exists. It's a tough world for theatre these days--even tougher than usual--and we've lost too many theatre companies. Red Bull's contribution is unique--and excellent. Long may it thrive!

Wendy Caster

The Harlem Doll Palace

Lenon Hoyte (Aunt Len) was the founder and proprietor of Aunt Len’s Doll and Toy Museum in Harlem. She died in 1999. In the amazing Harlem Doll Palace, which just finished a run at the HERE Arts Center, Aunt Len's dolls refuse to let her die, keeping her alive by recounting their own pasts and hers. Written and starring Alva Rogers, The Harlem Doll Palace deals in a form of fantasy sometimes completely fantastical (mermaids) and sometimes heartbreakingly real (slavery and generational trauma). 

Photo: Richard Termine

The dolls are brought to life by Mecca Akbar, Thalya David, Charlotte Lily Gaspard, Marcella Murray, and Ash Winkfield, fabulous puppeteers, actors, and singers. The combination of techniques, writing, performing, staging, and music often results in sheer magic. (The songs and scoring by Bruce Monroe are fabulous.)

Segues between sections would help in terms of pacing and clarity, and maybe the show could be trimmed a bit, but these are small things compared to the wonder and emotion on view.

Wendy Caster

Maddie

Jan and Nick, a young married couple, have just moved into an apartment in the East Village. It's 1977, they're in their mid-20s, and they've been together 7 years. Their marriage is happy but starting to show some cracks. They start fixing up the apartment, and while removing wallpaper, Jan uncovers a message, written in lipstick: "MADELINE MARSH - JUNE 14th 1926. READ IT AND WEEP!" They find out from their landlord that Madeline Marsh, Maddie, was an exceptionally talented performer; the landlord and she had been a team in vaudeville; he loved her. But Maddie was tragically killed in a train accident on the way to Hollywood for a screen test before movies even had sound.

We soon find out that, in revealing the message, Jan has freed Maddie's ghost to appear. Maddie immediately starts planning to finally be a star. (Maddie is played beautifully by Kelly Maur.)

Maddie is based on "Marion's Wall," by Jack Finney, who wrote the fabulous Time and Again. (If you haven't read it, and if you possess even the slightest interest in New York City and/or time travel, you're in for a treat.) I chose to see it because of the Finney connection and the intriguing premise. Oh, and because it had been on the West End.

Joe Lewis, Kelly Maur,
Alexander Todd Torrenga
Photo: Ian McQueen Photography

Unfortunately, Maddie is weak at best. The songs are generic, and the lyrics are awkward. The book is sloppy, with unconvincing and inconsistent characters. For example, when asked about the past, the landlord has to be convinced to tell his stories. Have the book writers never met an old person--or really a person of any age? The vast majority of people are thrilled to tell their stories. And, as it happens, I lived next to an old vaudevillian, a comedian, in the late '70s, and he never missed a chance to discuss the past. I even got to hear part of his signature routine--in the elevator (he was wonderful)! More importantly, rather than being thrilled, gobsmacked, awestruck, and ecstatic at Maddie's return, the landlord is ... pleased. And he doesn't fight to keep her around; in fact, he fights for her to go. There are many other examples of the characters not behaving like people, particularly young people in 1977.

One of the biggest weaknesses is the character of Maddie herself. In the first act, she is selfish and ambitious and single-minded in reaching her goals (albeit charming and funny). In the second act, she suddenly has compassion and concern for those around her. For no particular reason, she turns into a mensch. (It also isn't clear just when she can and can't appear.)

I was surprised at that a production from the West End would be so low-rent. But research after the show revealed that Maddie was on the West End for less than two months in 1997! Saying that the show comes from the West End isn't exactly false, but it isn't exactly true either.

Maddie's biggest strength is providing the opportunity for many of the performers to make their Off-Broadway debuts. In addition to Kelly Maur, Shannon Payette and Truman Griffin were particularly good, with many of the others showing great promise.

Wendy Caster

The Fat Cat Killers

Adam Szymkowicz's entertaining The Fat Cat Killers combines an incompetent-criminals comedy with a take-down of capitalism. Rather than building on or complementing each other, the two components clash, with the whole play being less than the sum of the parts. (Though the parts are frequently excellent.)

Steve and Michael work for what seems to be a large corporation. Though "work" might be more accurate. Steve, in an interview for a promotion, announces, "... it's true I don't actually do a lot at my desk these days. I kind of put off the work and no one seems to notice so I guess that's an okay thing to do. Not that it should be, but, you know, it is."

David Carl, Philip Cruise (sitting), Christopher Lee 
Photo: Scott Fetterman

After Steve and Michael are laid off, they meet at a bar to discuss their options. With the help of many beers, they hit on a plan to kidnap the head of the company, Dave Russell. They want a share of the ten million dollars he made the previous year. 

Steve: They paid him ten million and in turn he lays people off?

Michael: That's why he laid people off. Because he wants to be paid more this year.

Somehow, stumbling along, Steve and Michael manage to kidnap Russell. While smug and obnoxious, Russell comes across as superior to Steve and Michael. (It reminded me of Hitchcock's movie Lifeboat, where the terrible villain is the only character who has a clue.)

Although tied to a chair, Russell deftly spars with Steve and Michael, playing on their idiocy and greed. But while it would seem that Russell is "having a battle of wits with unarmed opponents," Michael's gun is an effective competitor. As time goes on, the incompetent-criminals comedy becomes less and less funny, and the capitalism-stinks component becomes less and less effective.

The press release for The Fat Cat Killers says, the play "was penned long before Luigi Mangione made international headlines." While it's an obvious comparison, as the fictional Steve and Michael and the very real Mangione sought to wreak revenge on an executive they held culpable for great evils, the comparison actually weakens The Fat Cat Killers. Mangione was angry that legitimate medical insurance claims weren't being okayed, causing worsened health and even death to the insured. Steve and Michael are pissed that they were laid off from their jobs, at which at least one of them was completely useless.

All that being said, I have to repeat that The Fat Cat Killers is a very entertaining 90 minutes (although its three endings made the latter part drag). It is well-acted by Christopher Lee, David Carl, and Philip Cruise. Andrew Block's direction is imaginative and largely well-paced. 

But, having seen Szymkowicz's fabulous Hearts Like Fists and Marian Or The True Tale of Robin Hood, I did want more from this play.

Wendy Caster

2025 Tony Predictions

Although we have not previously shown great acuity in Tony prediction, here we are again. Hope springs eternal!

This year’s list of Tony nominees reveals a healthy, exciting season. Looking at who wasn’t nominated confirms just how rich the season was — for example, big stars like Bernadette Peters, Lea Salonga, Idina Menzel, and Sutton Foster had shows on Broadway this season, and yet not one of them received a nomination.

While the musical season lacked a Caroline or Change or Light in the Piazza or Hamilton, it was strong in creativity and entertainment. And only two nominees are based on existing IP. Two are based on actual incidents. And while Maybe Happy Ending was not created specifically for Broadway, it is nevertheless an original piece.

The best play category is just fabulous: five smart, meaningful, more or less funny, more or less serious, excellent pieces of work.

Of course, these riches make Tony predicting even more difficult than usual. Is it an exaggeration to say that every nominee deserves to win? We don’t think so, but we have considered the nominees, followed the politics, thrown the I Ching, and examined the entrails of a sacrificed pile of Playbills, and here are our predictions.
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Note: Our choices are underlined in our discussions.

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Best New Musical

“Buena Vista Social Club”
“Dead Outlaw”
“Death Becomes Her”
“Maybe Happy Ending”
“Operation Mincemeat”

Liz: Dead Outlaw is such a wonderfully bizarre piece; Death Becomes Her lets three famously scenery-chewing performers chew to their hearts’ content; Buena Vista Social Club is lively and is packing ‘em in; Operation Mincemeat is low-key and droll, imaginative and surprisingly moving. I’ve got no real skin in this game, but my gut tells me Maybe Happy Ending will win.

Sandra: I see this as a battle between the offbeat, quirky Dead Outlaw and the offbeat, quirky Maybe Happy Ending. Both showcase clever storytelling about the value of human (or robot) life and the legacy of that living. I think in the end the emotional resonance of Maybe Happy Ending will edge Dead Outlaw out.

Wendy: I’m going with Maybe Happy Ending. While all of these shows have their adherents, Maybe Happy Ending seems to have touched and delighted audiences in a particularly warm way.

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Best New Play

“English”

“The Hills of California”

“John Proctor Is the Villain”

“Oh, Mary!”

“Purpose”

Liz: Purpose just beat out Oh, Mary! for the Pulitzer, so it’s possible that will happen with the Tony, too. That said, no play this season has resonated quite the way Oh, Mary! has: there’s something to be said about the strangely timely way this quirky, campy show gleefully mangles American history on its own terms, and I’m guessing it’ll win.

Sandra: My gut says Purpose since it won the Pulitzer, but the irreverent Oh, Mary! offers a campy cheek not seen Off-Broadway (where it opened in February 2024) or on Broadway in a long, long time (I’d argue 2011’s The Book of Mormon). Its charm and craftmanship might provide some competition.

Wendy: I believe that the Tony will go to one of the shows still running: John Proctor is the Villain, Oh, Mary!, or Purpose. I think John Proctor is the Villain will take it.

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Best Musical Revival

“Floyd Collins”

“Gypsy

“Pirates! The Penzance Musical”

“Sunset Boulevard”

Liz: I can see Sunset taking this, especially given its stagey departures from the original (including a celebrated segment that doesn’t take place on the stage itself). Gypsy could win, too, very easily. Floyd Collins is the quieter and heavier underdog here, but still, I’d be thrilled if it won. I’ll guess Gypsy because it’s Gypsy.

Sandra: Although Sunset Boulevard never really impressed me, somehow, I’ve seen it four times (Glenn Close in Los Angeles; Glenn Close in New York in 1994, Elaine Paige in 1996, and Nicole Scherzinger in 2024 — all on Broadway). But this recent production stunned me with its staging. Tom Francis’ second act walk backstage, down 44th Street through the theater is simply exhilarating, rich, inventive — and one of the most exciting Broadway moments I’ve experienced this season. So, Sunset Boulevard for the win.

Wendy: Okay, here’s a prediction I’d bet on: Pirates! won’t win. Predicting who will win is a tad more challenging. I’m going to say Sunset Boulevard because it really excited the part of the audience that didn’t hate it.

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Best Play Revival

“Eureka Day”

“Our Town”

“Romeo + Juliet”

“Yellow Face”

Liz: I suspect Eureka Day won’t take this: as delightful and timely and hilarious as it was, it was also pretty light (and undersold). The turbo-charged Our Town was so poorly conceived that if it wins, I’ll be very grumpy. The award could certainly go to Romeo + Juliet, which ran well and had solid word of mouth, but if I had my druthers, Yellow Face would win.

Sandra: Romeo + Juliet successfully made Shakespeare accessible to the Tik Tok crowd. My 17-year-old daughter and 15-year-old son BEGGED me to take them. The music from Jack Antonoff and an immersive set design, where actors performed from the aisles, stage rafters, and seating gave this classic a powerful accessibility — and Kit Connor’s balcony pull-up scene created a viral moment … and engaging theater.

Wendy: Our Town is the rare nominee this year that I think didn’t deserve its nomination. It just kinda wasn’t Our Town. A friend said that she always sobbed by the end of Our Town, and this time she was only teary-eyed. I’m predicting Eureka Day at least as much because I loved it as I believe it will win.

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Best Leading Actress in a Play

Laura Donnelly, “The Hills of California”
Mia Farrow, “The Roommate”
LaTanya Richardson Jackson, “Purpose”
Sadie Sink, “John Proctor Is the Villain”
Sarah Snook, “The Picture of Dorian Gray”

Liz: I appreciate that Farrow, at 80, got her first Tony nod, and Laura Donnelly’s performance as both mother and daughter was superb. But one-person shows involving lots of costume changes and shape shifting and sweat are shoo-ins, so early congratulations to Sarah Snook.

Sandra: Like Liz and Wendy, I pay homage to Farrow and her acting legacy. How wonderful it would be to see her on stage Tony night. But I take comfort in the fact that all of these performances are as solid as they come, and when Sarah Snook takes the award, I won’t cry.

Wendy: I suspect that LIz might be right that Snook will win due to sheer showy effort, and she also has a pre-existing fan base from Succession. Laura Donnelly was extraordinary, Sadie Sink was dynamic and moving, and Mia Farrow is Mia Farrow. But LaTanya Richardson Jackson provided a vibrant center for Purpose and brilliantly showed the price of committing your life to living a lie.

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Best Leading Actor in a Play

George Clooney, “Good Night, and Good Luck”

Cole Escola, “Oh, Mary!”

Jon Michael Hill, “Purpose”

Daniel Dae Kim, “Yellow Face”

Harry Lennix, “Purpose”

Louis McCartney, “Stranger Things: The First Shadow”

Liz: This is a tossup between Clooney and Escola. Clooney’s first time on Broadway is a big deal making big money, but I’m gonna go with Escola.

Sandra: I so want Cole Escola to win this. Their performance shows boldness and imagination as they create a distinctive Mary Todd Lincoln that’s both hilarious and memorable.

Wendy: I don’t think Cole Escola will win Best Play and Best Actor. This is the one I’m predicting them to win.

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Best Leading Actress in a Musical

Jasmine Amy Rogers, “Boop!”

Megan Hilty, “Death Becomes Her”

Audra McDonald, “Gypsy”

Nicole Scherzinger, “Sunset Boulevard”

Jennifer Simard, “Death Becomes Her”

Liz: Hilty is phenomenal; Simard is a longtime favorite who never fails to send me into paroxysms of laughter. Rogers is an exciting new talent with a big future ahead of her. McDonald is adored. But unless Scherzinger so alienated voters over her evasive political posts, I suspect she’ll win.

Sandra: Does Audra really need a seventh tony? Yes, she’s a phenomenal talent who puts her own spin on this classic role but let’s share the wealth already. I think Nicole Scherzinger is the top pick here. She already won the Olivier Award, and her presence onstage is both vulnerable and commanding. And she’s got the pipes.

Wendy: I think the big question here is, do the Tony voters think that Audra has enough Tonys? And, as Liz pointed out, there’s a chance Scherzinger has alienated enough people to cost her this award. I’m going to predict Audra for this somewhat bizarre reason: Some years ago, at a Tonys party, I ended up tying for most correct predictions. I would have won solo had I predicted McDonald in Supporting Actress. So I’ve learned not to mess with Audra.

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Best Leading Actor in a Musical

Darren Criss, “Maybe Happy Ending”

Andrew Durand, “Dead Outlaw”

Tom Francis, “Sunset Boulevard”

Jonathan Groff, “Just in Time”

Jeremy Jordan, “Floyd Collins”

James Monroe Iglehart, “A Wonderful World: The Louis Armstrong Musical”

Liz: Jordan does what he can from his lounge chair, but it’s not his time. Iglehart won’t win, nor will Groff (who took this award last year). Francis was excellent, but not so distinctive in the role as Scherzinger is in hers. Durand is weird and wonderful in Outlaw. But I think Criss will win.

Sandra: I’ll be honest here. I’m a Gleek. I watched all six seasons through the good, the bad and the ugly (I’m looking at you Season 5). I vote for Blaine Anderson, um, I mean, Darren Criss.

Wendy: Criss or Groff, Groff or Criss? I’m going with Criss.

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Best Direction of a Musical

Saheem Ali, “Buena Vista Social Club”

Michael Arden, “Maybe Happy Ending”

David Cromer, “Dead Outlaw”

Christopher Gattelli, “Death Becomes Her”

Jamie Lloyd, “Sunset Boulevard”

Liz: OMG please don’t make me guess this one. I’ll go with a pathetic attempt at wordplay, even if it evokes illicit massage parlors: Perhaps this will be Michael Arden’s happy ending?

Sandra: Jamie Lloyd, for sure. He’s the director/producer du jour this season — and, honestly, I think he’s earned the title. His stripped-down, stunning version of Sunset Boulevard made my own viewing pleasure of a show I never liked four-times the charm.

Wendy: I would predict Jamie Lloyd for Sunset Boulevard because tearing apart–uh, reimagining–existing pieces is often popular. But a lot of people hated what he did. So I’m going with Michael Arden for Maybe Happy Ending.

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Best Direction of a Play

Knud Adams, “English”

Sam Mendes, “The Hills of California”

Sam Pinkleton, “Oh, Mary!”

Danya Taymor, “John Proctor Is the Villain”

Kip Williams, “The Picture of Dorian Gray”

Liz: Hills was beautifully directed, but I suspect it’ll go to Pinkleton or Williams — with a slight edge for Williams.

Sandra: I echo my colleagues. I think Sam Pinkleton for Oh, Mary!

Wendy: Sam Pinkleton seems likely, for Oh, Mary!

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Featured Actress in a Play

Tala Ashe, “English”

Jessica Hecht, “Eureka Day”

Marjan Neshat, “English”

Fina Strazza, “John Proctor Is the Villain”

Kara Young, “Purpose”

Liz: I missed a number of these, so I’m throwing darts, here. Hecht and Young are always phenomenal. I can’t speak to Ashe or Strazza. I’ve seen Neshat in other shows, am always impressed with her, so I will root for her to get the honor, even as everyone’s deserving.

Sandra: I first noticed Hecht when she played Susan in “Friends,” and since then I’ve seen her several times on Broadway in The Last Night of Ballyhoo (1997), A View from the Bridge (2010) and Fiddler on the Roof (2015) — all showed her ability to infuse her characters with compassion, depth and nuance. After 12 shows on Broadway, it’s Tony time for her.

Wendy: Jessica Hecht doesn’t have a Tony. I think she should. Perhaps the Tony voters will agree.

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Best Featured Actor in a Play

Glenn Davis, “Purpose”

Gabriel Ebert, “John Proctor Is the Villain”

Francis Jue, “Yellow Face”

Bob Odenkirk, “Glengarry Glen Ross”

Conrad Ricamora, “Oh, Mary!”

Liz: Enormously worthy contenders to a one. But Conrad Ricamora was perfect as totally-ahistorical-Abe-Lincoln, and I’d be thrilled to see him win.

Sandra: I think the revival of Yellow Face deserves an award and this is the category, where a win is most likely. I’m with Wendy on this one (Francis Jue).

Wendy: I feel like Francis Jue’s name has already been engraved on this Tony, for Yellow Face and his entire body of work.

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Best Featured Actress in a Musical

Natalie Venetia Belcon, “Buena Vista Social Club”

Julia Knitel, “Dead Outlaw”

Gracie Lawrence, “Just in Time”

Justina Machado, “Real Women Have Curves”

Joy Woods, “Gypsy”

Liz: Not a freaking clue. Time to throw a dart again: Joy Woods in Gypsy.

Sandra: I’m with Wendy here. I’d like to see this show get attention and Machado adds some spice and heart to her matriarch character.

Wendy: I’m predicting Justina Machado, Real Women Have Curves, partially to give the show something.

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Best Featured Actor in a Musical

Brooks Ashmanskas, “Smash”

Jeb Brown, “Dead Outlaw”

Danny Burstein, “Gypsy”

Jak Malone, “Operation Mincemeat”

Taylor Trensch, “Floyd Collins”

Liz: I don’t see Burstein or Trensch winning this. Brooks Ashmanskas is funny and holds Smash together. But I think this one will go to Jak Malone for his generous, funny, and surprisingly moving work in Mincemeat.

Sandra: Again, I’m voting with my heart and no logic whatsoever. I would watch Danny Burstein read the phone book as they say and have enjoyed his presence in so many productions over the years — he’s done 19 Broadway shows (19!) — and I want to give the award to him.

Wendy: I’m predicting Danny Burstein because he is clearly very loved by the Broadway community.

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Best Book of a Musical

“Buena Vista Social Club”

“Dead Outlaw”

“Death Becomes Her”

“Maybe Happy Ending”

“Operation Mincemeat”

Liz: These are all good-to-superb books, and a few — like Death Becomes Her — even improve on their filmic predecessors. But Maybe Happy Ending and Dead Outlaw are the two completely original ones — and of those two, Outlaw stays with me as especially loopy, manic and brilliantly executed.

Sandra: This is a particularly strong category as Liz mentions. I think Outlaw will win for its originality, but I’d love to see a world where Wendy’s prediction comes true. 

Wendy: I think this is where the Tony voters will acknowledge Operation Mincemeat.

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Best Scenic Design of a Play

Marsha Ginsberg, “English”

Rob Howell, “The Hills of California”

Marg Horwell and David Bergman, “The Picture of Dorian Gray”

Miriam Buether and 59, “Stranger Things: The First Shadow”

Scott Pask, “Good Night, and Good Luck”

Liz: I loved the Hills set, with its stairways climbing up into the heights, but I suspect the award will go to something newer and gimmickier, like Stranger Things. That’s a shot in the dark, though — haven’t seen enough of these to offer any educated guesses.

Sandra: Sometimes gimmicky works, especially when it’s slightly magical. With elaborate sets and high-impact stagecraft, Stranger Things elevates its fan-friendly material. If Harry Potter and the Cursed Child, Parts One and Two can win six Tony Awards (including Best Scenic Design) with a play that lacks the emotional impact of J.K. Rowling’s original series, perhaps Stranger Things can prevail, too.

Wendy: I agree with Liz and Sandra that a newer and gimmickier design is likely to win, but I’m predicting The HIlls of California for its elegant old and less-gimmicky design.

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Best Scenic Design of a Musical

Rachel Hauck, “Swept Away”

Dane Laffrey and George Reeve, “Maybe Happy Ending”

Arnulfo Maldonado, “Buena Vista Social Club”

Derek McLane, “Death Becomes Her”

Derek McLane, “Just in Time”

Liz: I appreciated the spare, evocative design for Swept Away but was most impressed with the clean lines, brightness and tidy, graceful efficiency of the set for Maybe Happy Ending.

Sandra: I’m siding with the Show Showdown gang with this one: Maybe Happy Ending.

Wendy: Maybe Happy Ending, as in complete guess.

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Best Lighting Design of a Play

Natasha Chivers, “The Hills of California”

Jon Clark, “Stranger Things: The First Shadow”

Heather Gilbert and David Bengali, “Good Night, and Good Luck”

Natasha Katz and Hannah Wasileski, “John Proctor is the Villain”

Nick Schlieper, “The Picture of Dorian Gray”

Liz: Just gonna go with Clark for the tv show onstage or Schlieper for Dorian Gray. Maybe the latter, because super newsy one-woman shows don’t lighting design themselves.

Sandra: I think Stranger (Jon Clark) could take this for the reasons above (Harry Potter BTW also won for lighting design).

Wendy: Picture of Dorian Gray (Nick Schlieper), because the lighting is so lit.

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Best Costume Design of a Play

Brenda Abbandandolo, “Good Night, and Good Luck”

Marg Horwell, “The Picture of Dorian Gray”

Rob Howell, “The Hills of California”

Holly Pierson, “Oh, Mary!”

Brigitte Reiffenstuel, “Stranger Things: The First Shadow”

Liz: Oh, who knows? More darts: Pierson for Oh, Mary!

Sandra: When a team of dressers needs to appear onstage, you know that costumes have become an essential part of the theatrical experience. While the video technology and Sarah Snook’s acting skill form the 26 characters in Oscar Wilde’s only novel, it is the quick change of the period clothing that facilitate the actress’s transformation. (Marg Horwell)

Wendy: Oh, Mary! for sure.

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Best Choreography

Joshua Bergasse, “Smash”

Camille A. Brown, “Gypsy”

Christopher Gattelli, “Death Becomes Her”

Jerry Mitchell, “Boop!”

Patricia Delgado and Justin Peck, “Buena Vista Social Club”

Liz: Ummmm….Smash? I’m out of my league, here.

Sandra: The dance in Buena Vista Social Club infuses the audience with the spirit of this show. It is performed not as an aside but as a key element to the musical’s storytelling, which is why it will win the Tony.

Wendy: I’m envisioning a Tonys where the awards are spread around, and I’m predicting Buena Vista Social Club here.

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Best Orchestrations

Andrew Resnick and Michael Thurber, “Just in Time”

Will Aronson, “Maybe Happy Ending”

Bruce Coughlin, “Floyd Collins”

Marco Paguia, “Buena Vista Social Club”

David Cullen and Andrew Lloyd Webber, “Sunset Boulevard”

Liz: Floyd Collins sounded so rich and lovely in this rendition, and I love that score so much.

Sandra: Floyd Collins deserves some recognition and like Liz I think this is where the Tony Awards will show it love.

Wendy: And here’s where I think they’ll reward Just In Time.

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Best Sound Design of a Play

Paul Arditti, “Stranger Things: The First Shadow”

Palmer Hefferan, “John Proctor Is the Villain”

Daniel Kluger, “Good Night, and Good Luck”

Nick Powell, “The Hills of California”

Clemence Williams, “The Picture of Dorian Gray”

Liz: When in doubt, as I am, go for the tech-heavy spectacle. Stranger Things.

Sandra: I say Stranger Things, too.

Wendy: This always seems to me to be a difficult category, because people have different sonic experiences from different seats. And is it about clarity, mood, or some other factor? Totally randomly, I’m going for Good Night, and Good Luck.

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Best Original Score

“Dead Outlaw,” David Yazbek and Erik Della Penna

“Death Becomes Her,” Julia Mattison and Noel Carey

“Maybe Happy Ending,” Will Aronson and Hue Park

“Operation Mincemeat,” David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

“Real Women Have Curves,” Joy Huerta and Benjamin Velez

Liz: Dead Outlaw is currently my personal favorite, even as it’s ultimately very short, just slightly one-note (even as that one note ROCKS), and not necessarily Yazbek’s best work. While I’d love to see it win just because I dig it, I suspect Maybe Happy Ending will instead.

Sandra: I'm siding with Wendy on this one. (Maybe Happy Ending)

Wendy: I think this will go to Maybe Happy Ending.

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Best Costume Design of a Musical

Dede Ayite, “Buena Vista Social Club”

Gregg Barnes, “Boop!”

Clint Ramos, “Maybe Happy Ending”

Paul Tazewell, “Death Becomes Her”

Catherine Zuber, “Just in Time”

Liz: Can I vote for Great Gatsby again? No? Fine: Tazewell for Death Becomes Her.

Sandra: The costumes in Death Becomes Her give insight into the character’s POV, and those sparkle dresses in the end are to die for — if Madeline and Helen lost their immortality — and show the totality of their decisions. So, Show Showdown stands united on this one.

Wendy: Paul Tazewell for Death Becomes Her.

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Best Lighting Design of a Musical

Jack Knowles, “Sunset Boulevard”

Tyler Micoleau, “Buena Vista Social Club”

Scott Zielinski and Ruey Horng Sun, “Floyd Collins”

Ben Stanton, “Maybe Happy Ending”

Justin Townsend, “Death Becomes Her”

Liz: Knowles for sure: the lighting makes that production.

Sandra: Hey, look at us: we all agree again. We’re on a roll. (Sunset Boulevard)

Wendy: Jack Knowles for Sunset Boulevard.

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Best Sound Design of a Musical

Jonathan Deans, “Buena Vista Social Club”

Adam Fisher, “Sunset Boulevard”

Peter Hylenski, “Just in Time”

Peter Hylenski, “Maybe Happy Ending”

Dan Moses Schreier, “Floyd Collins”

Liz: Just because I love when this happens, I’m voting for Hylenski. Which one? Do I have to guess? Happy Ending if so, but as always, I’ll wonder if, should he win for one and not the other, he’ll still beat himself up for losing?

Sandra: Buena Vista Social Club for the win because the show is literally about the music. The sound embraces a pure, exuberant joy that stays with the audience long after the last notes.

Wendy: Hey, Floyd Collins should get something, right?

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